Thursday, 12 September 2013

Andrea De Stefani

For
his second solo exhibition at Fluxia, Andrea De Stefani created a dry
garden based on the aggregation of materials and forms of discordant
origins, a landscape designed from the reconfiguration of residual
forms. The elements that De Stefani has identified, collected and used
as a matrix for his sculptures come from a specific environment: the
margins of the industrial zone and the urban periphery, a terrain vague
described by French landscape architect Gilles Clément in his definition
of the “third landscape”.
Roots intertwined with plastic debris, scraps readapted to nests,
moss-covered industrial leftovers are some of the forms generated by the
merging of contingent environmental and cultural features.
Defining a preferential path within the gallery space and interacting
with its geometry, De Stefani draws a crystallized panorama that marks
the actual degree of humanization in a new, natural balance.
- See more at: http://moussemagazine.it/smashup-fluxia/#sthash.5FkuWWyn.dpuf

For
his second solo exhibition at Fluxia, Andrea De Stefani created a dry
garden based on the aggregation of materials and forms of discordant
origins, a landscape designed from the reconfiguration of residual
forms. The elements that De Stefani has identified, collected and used
as a matrix for his sculptures come from a specific environment: the
margins of the industrial zone and the urban periphery, a terrain vague
described by French landscape architect Gilles Clément in his definition
of the “third landscape”.
Roots intertwined with plastic debris, scraps readapted to nests,
moss-covered industrial leftovers are some of the forms generated by the
merging of contingent environmental and cultural features.
Defining a preferential path within the gallery space and interacting
with its geometry, De Stefani draws a crystallized panorama that marks
the actual degree of humanization in a new, natural balance.
- See more at: http://moussemagazine.it/smashup-fluxia/#sthash.5FkuWWyn.dpuf

For his second solo exhibition at Fluxia, Andrea De Stefani created a
dry garden based on the aggregation of materials and forms of
discordant origins, a landscape designed from the reconfiguration of
residual forms. The elements that De Stefani has identified, collected
and used as a matrix for his sculptures come from a specific
environment: the margins of the industrial zone and the urban periphery,
a terrain vague described by French landscape architect Gilles Clément
in his definition of the “third landscape”.

Roots intertwined with plastic debris, scraps readapted to nests,
moss-covered industrial leftovers are some of the forms generated by the
merging of contingent environmental and cultural features.

Defining a preferential path within the gallery space and interacting
with its geometry, De Stefani draws a crystallized panorama that marks
the actual degree of humanization in a new, natural balance.